Kanye Made Contradiction Sound Beautiful
On Kanye West, the grandeur of My Beautiful Dark Twisted Fantasy, and why a beautiful record should never become a permission slip.
MUSIC / 10 ESSAYS
Records as rooms. Voices as weather. These are listening notes about the sounds that refuse to become background, from Kanye and Travis Scott to the stranger corners of electronic music and rap.
On Kanye West, the grandeur of My Beautiful Dark Twisted Fantasy, and why a beautiful record should never become a permission slip.
Travis Scott is at his most interesting when a song behaves like a place. On atmosphere, changing scale, and the rooms inside ASTROWORLD.
On Burial’s Untrue, damaged voices, and the peculiar comfort of music that gives loneliness a room without pretending to cure it.
Yeezus makes a case for friction. I think its abrasive surfaces matter because they refuse to make every feeling immediately comfortable.
Jai Paul’s Bait Ones makes me question the demand for immaculate completion. Some rough edges carry information that polish would erase.
A case for the restless ambition of Travis Scott’s Rodeo, where excess becomes interesting because it still sounds capable of falling apart.
On billy woods and Kenny Segal’s Maps, the value of withheld context, and why a listener should sometimes have to do the work of listening.
Dean Blunt’s Black Metal makes uncertainty about sincerity part of the music. I think the fear of being fooled can become its own kind of dishonesty.
On Autechre, unfamiliar musical shapes, and the difference between giving a record patient attention and treating difficulty as a badge.
Playlists are useful, but I think the album asks more interesting things of a listener. A defense of sequence, awkward transitions, and staying put.